Cimabue in a sentence

Short Example Sentence for Cimabue

  • 1. Cimabue, 29.
  • 2. The Great Painters of Christendom, from Cimabue to Wilkie.
  • 3. Cimabue and Giotto were the most prominent exponents of this advance.
  • 4. No noted painter arose until Cimabue, in the middle of the thirteenth century.
  • 5. Credette Cimabue nella pintura
  • 6. Nell'arti, Cimabue primo
  • 7. Cimabue!"

How to use Cimabue in a Sentence?

  • 1. Maria Novella, which included the portraits painted from life of Cimabue and Giotto.
  • 2. The genius of Cimabue extricates itself at a bound from the trammels of preceding systems, and flies vigorously towards nature.
  • 3. The art of painting seems to spring full-grown into existence, with the appearance of Cimabue in the latter part of the thirteenth century.
  • 4. I told you that my affairs have pressed upon me; I have finished my "Cimabue.
  • 5. We wandered all over the church, looked at the frescoes and the wonderful Cimabue Madonna, and then through the cloisters.
  • 6. The Madonna of Cimabue, which hangs at the end of the south transept, resembles the one in the Academy.
  • 7. In Italy Giotto followed Cimabue; and Giotto could not always resist the temptation to state the particular and leave the universal out.
  • 8. My sister prefers it infinitely to "Cimabue" in all respects, but the fact is, the subject is more attractive to English people than the other.
  • 9. Ignorantly to herself, the hands of the little pilgrim are knocking at the very door where Giotto and Cimabue knocked in the innocent child-life of Italian art.
  • 10. Cimabue was then living in the Borgo Allegri, one of the suburbs of Florence, and there in his studio this great painting slowly came into existence.
  • 11. Very little progress was made, as we may imagine, until after the great revival movement begun by Cimabue, Giotto, and their contemporaries, about the middle of the thirteenth century.
  • 12. Before him, painting was a lifeless imitation of models afforded by Greek workers in mosaics; but Cimabue abandoned this servile copying, and gave a new expression to heads, and grouped his figures.
  • 13. There must have been communication with Italy going on the whole time that Cimabue and Giotto, Memmi and the rest were astonishing their fellow-citizens with their divine performances.
  • 14. They commenced the apse at Pisa, which was finished in 1321 by Vicini, Cimabue designing the colossal figure of Christ which thus dominates the cathedral.
  • 15. I care not if their minds confuse Alastor with Aladdin; And Cimabue is far less To them than Chimmie Fadden.
  • 16. The miniatures which occasionally contain evident attempts at portraiture, are painted in the manner of the school of Cimabue and the earlier Italian painters, more particularly that of Simone Memmi.
  • 17. He remembered the departure of his picture 'The Triumph of Cimabue,' sent with diffidence, and so, proportionate was the joy when news came of its success, and that the Queen had bought it.
  • 18. Nevertheless, it seems no great progress from Cimabue, Giotto, and Orgagna, whose compositions are so full of energetic life and human passion, to these careful, gentle miniatures upon an expanded scale.
  • 19. We are therefore more or less in the position of people who should be acquainted with the work of Cimabue, Giotto, and Duccio, though knowing very little of Byzantine art and its primitive developments in the West.
  • 20. These were thought for a long time to represent Cimabue (in a white night-cap), Petrarch (in long petticoats), Laura (in short ones), and various other celebrities.
  • 21. This is the year that Cimabue was three years old; Niccola Pisano had lived during its building, Amiens was finished forty-six years later, and Orvieto was begun thirty-six years later.
  • 22. Giotto's Madonna is the pendant to that of Cimabue; but although painted twenty-five years later, it shows less progress in art than might be expected.
  • 23. It is astonishing, when we remember that Nicola was older than Cimabue, Giovanni than Giotto, Ghiberti than Fra Angelico, that the painters did not learn from the sculptors more of the actual appearance of things.
  • 24. He makes Cimabue, the noble, lead by the hand the shepherd boy Giotto, who was destined to outstrip his patron in the race for fame, and to become so great an influence in the history of his country's art.
  • 25. The first great painting in the Academy--to return from this digression--is the famous Madonna of Cimabue.
  • 26. There is here a large hall, containing a brief chronicle of the progress of painting from Cimabue to--Carlo Dolce!
  • 27. And another proof is that their works are continually being drawn by all the foreign painters; wherefore they conferred greater benefits on the art of painting with the beautiful manner that they displayed and with their marvellous facility, than have all the others together who have lived from Cimabue downwards.
  • 28. Fleury, who with characteristic kindness put me up to several dodges in picture-restoring with a reference to "Cimabue"--invaluable information.
  • 29. Here in three days, owing to quick-lime mixed among the earth, vanishes every vestige, every trace of the human being carried thither seventy hours before, and here round the walls Giotto and Cimabue have exhausted their invention to impress the passers-by with deep and pensive melancholy.
  • 30. The first really great master among Italian painters, however, was Giovanni Cimabue, who lived in Florence during the last part of the thirteenth century; he infused into his work a certain vigor and animation which were even more than a portent of the revival which was to come.
  • 31. In painting, the works, for instance, of Cimabue and of Duccio are still impregnated with the Byzantine spirit, and occasionally reveal startling reminiscences of classic dignity and power, to which justice is not, I think, sufficiently rendered.
  • 32. As a boy at school I went to the R.A. Exhibition, and saw for the first time a work of Leighton's, the procession in honour of the picture by Cimabue in Florence, 1855.
  • 33. Mrs. Ady is a competent and gifted writer on Italian painting, and presents in these 350 pages an excellent history of the splendid art and artists of Florence during the golden period from Cimabue and Giotto to Andrea del Sarto and Michelangelo.